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I started doing comedy when I was a teenager with Tom Kenny, who is the voice of SpongeBob. I don't want to name drop, but, I've known him since I was 6.
I started out making fun of comedy. Then I became the thing I was making fun of.
Too much comedy is filthy these days. There's nothing they won't say. I like Jimmy Carr, but I don't like the language he uses. I don't understand why he feels it necessary; I find it extremely offensive.
I have done all kinds of roles - comedy, action, romance, and thrillers. Just name the genre, and I've done it.
Good films will run, and people will watch it irrespective of whether it is suspense or a comedy.
In comedy, though, it's good to get feedback from the audience about what they find funny.
I worked in accounting for two and a half years, realized that wasn't what I wanted to do with the rest of my life, and decided I was just going to give comedy a try.
The first time I heard Richard Pryor, I knew he would be a major force in the world of comedy.
I didn't know I was cool, but I was very flattered that some of the younger comedy writers came up to talk to me at the Emmys. I found that gratifying.
Now people want what the movie was about, which is violent comedy. And that's really what The Aristocrats is based on - what will a family do out of desperation.
I think when you dissect a joke too much, you have ruined whatever there is in comedy.
25, 30 years ago, that meant something, they were making some money. And they were doing all sorts of comedy, screaming at the audience, basically crowd control. And then there was the whole urban comedy scene.
I had enough therapy to know when I broke it down, it became clearer to me: Yes, comedy was kind of a cleansing thing for me to do.
It's like cooks don't watch cooking programmes - I suppose maybe comedians don't watch comedy shows.
I try and write satire that's well-intentioned. But those intentions have to be hidden. It can't be completely clear, and that's what makes it comedy.
Comedy should be a source of positivity. I don't want to bully people, and I don't want people to come to my show to feel terrible about something. So I'm actually very open to having a conversation about what I should or shouldn't say.
I think the comedy clubs tend to homogenize the acts a little bit, because they force them to be palatable in way too many environments.
I was definitely not the kid that just wanted to be famous for no reason whatsoever and then happened to find comedy. Fame and all that stuff have always been slightly terrifying to me, and it makes me very anxious.
Postmodern comedy doesn't work well with very old audiences, because it's making fun of the comedy they enjoy.
I think because of the Internet I was able to study comedy from quite a young age and watch a lot of comedy.
I like to inject a bit of production value and flair to comedy, or at least to my little corner of comedy.
The English can be a very critical, unforgiving people, but criticism can be good. And this is a country that loves comedy.
Every day is a surprise. There are confirmations of an interconnectivity and synchronicity which inspire, titillate and confirm the inherent comedy of the universe.
I came back to New York after college like any number of struggling performers, and you just find that niche where you can have some sort of impact. And for me that turned out to be comedy.
If you're in scenes with a guy you know really well in a comedy, you tend to crack each other up too much.
Golf was my first glimpse of comedy. I was a caddy when I was a kid. I was on the golf course rather than being in lessons, but I can play better now than I could then.
With While You Were Sleeping, it was so much fun and such a Cinderella story, that I didn't want to do another romantic comedy. I wanted to do the opposite.
I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
I was in NYC during 9/11; it happened on a Tuesday, I was on stage Thursday. It was a small crowd, but it took about 10 days and comedy clubs were packed.
You start in bars and then restaurants, then you want to get into comedy clubs where you feature, then you headline, and once you sell out clubs you're into theaters. I've been able to get there, and it's cool to do that.
Comedy can be quite all consuming at times, and if you're not careful you end up doing a tour, then a DVD, then another tour then a DVD. Suddenly the years have just flown by.
The two worst enemies of comedy are lack of sleep and not having had a decent meal.
My comedy comes from the actual music itself - they're observational musical gags. I could take the music away and it would just be some words.
All kinds of things have gone into my shows - cajun and rock bands, Bollywood, Kraftwerk tributes, effects and so on. As long as it services the comedy, everything is up for grabs.
Twenty-two years I've been doing this comedy lark, so it's been like a meteoric rise to fame... if the meteor was being dragged by an arthritic donkey across a ploughed field, in northern Poland.
Now, with the success of musical comedy like the Mighty Boosh, Flight of the Conchords and Bo Burnham, I feel vindicated.
The male image has been so pulled down by situation comedy in the last 15 years, it is frightening. I don't like what has happened to the American male.
When Logo offered me my own comedy special, I said, 'Let's make it a double.'
Doing drama is, in a sense, easier. In doing comedy, if you don't get that laugh, there's something wrong.
The success of my comedy has been not being afraid to touch on subject matters or issues that everyone else is politically scared of.
I'm not ashamed to tell the truth about what happened in my family. I think that's what makes my comedy different.
The one thing about comedy, making it become a part of you, the audience loves it, because you become part of them.
I grew up wanting to make movies, and along the way I suddenly found that I had a career doing comedy.
I want to be able to play trailer-bound fatties in a Judd Apatow comedy.
Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.
I'm a huge fan of French comedy. The French play comedy in a slightly different way than we do: they play it with a sort of realism that we don't necessarily often do ourselves.
Comedy's about things the way they are. It's about the world as it is, not the world as we would like it to be, and science is the same, really.
Comedy is my proper job. It's what I should be doing, and when I do other bits like my science series, I miss it.
I'm really spectacularly thick in all areas of my life except comedy and science. I'm crap at everything else.
I don't think you get a lot of comedians who are homeopaths. Comedy is essentially about not being hoodwinked.
Dan Aykroyd is a comedy icon and one of my idols of all time, but I also know that he's an incredibly great actor.
I think there's nothing better than a comedy that also is not afraid to have those heartfelt moments.
Here's the thing about Jews in Hollywood. Not to stereotype, but the Jews I know here are the funniest, most self-deprecating people I know. And it's rare to find a Jew that is actually offended by comedy about them.
Growing up, a film was an action film or it was a comedy or it was romantic, but you don't really see such stark lines between genres nowadays.
I suddenly realized that comedy, for me, was just being honest, and playing it for real. I've seen so many wonderful actors who turn into creatures from another planet when they're told they are supposed to be playing comedy.
Michael Jackson wanted to be in Men in Black II. He told me he had seen the first Men in Black in Paris and had stayed behind and sat there and wept. I had to explain to him that it was a comedy.
In other places, especially in Boston, it's like a place where comedy gestates. People come out of there that are fantastic, but you have to come to New York or L.A. to quote unquote 'make it.'
Instead of letting anxiety run you, try voicing it. Voice it in your comedy. Voice it in a script. Just voice it, and it'll help you release it.
Every podcast network has a different culture as far as I can tell. How they run things at Nerdist is totally different than how they run things at Earwolf is totally different than All Things Comedy or Maximum Fun or Feral Audio. And it's different if it's independent.
I'd love to be in a feature film, and I don't just mean in a starring role - it could be a small part. And I would like to act in television, to do comedy and drama.
'The Office' is less a comedy than so many other 'comedies' that have been on the air. It's really about the balance between what is real and what is comic.
London seems to be a town with a lot of comedy fans and people that really enjoy stand-up.
I'm kind of obsessed with food. I like to eat. When I tour, it's like, well, like a food tour as much as a comedy tour.
Especially when you deal with comedy, you have got to be really honest because it's the honesty and the spontaneity that causes people to chuckle, that catches people.
I really like comedy because it is really fun to be in - even though you are playing it straight.
'Scary Movie' was a different type of comedy than I'm used to. I've mostly done sitcoms, so working with David Zucker, who wrote the film and who directed the last two 'Scary Movie's and 'Airplane' and 'Naked Gun,' was a lot of help.
I just finished 'Butter' for Weinstein, a comedy with this incredible cast - Hugh Jackman, Olivia Wilde, Alicia Silverstone - all-star cast and it was a fun set to be on. I've gotten really lucky to get all these down-to-earth cast members. 'Butter' is about butter carving in Iowa.
Comedy is something that I'm definitely looking to get into. I had a little taste of it and I do intend on going to classes for it because I think it's a different muscle, and it's hard to find female comedians.
I did a lot of theatre when I started out. It was the Lyceum, the Citz, the Tron and the Traverse. I came to London and did the Royal Court, the National, 'King Lear' at the Manchester Royal Exchange. I did little bits of comedy, like 'Rab C Nesbitt,' but I wasn't predominantly about comedy.
Comedy ages quicker than tragedy, to the extent that we can't know if the 10 commandments may originally have been 10 hilarious one-liners.
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